How might the pornographic be associated with Brecht's and
Benjamin's media theories? How are Foucault's and Deleuze's
writings on visibilities "postcolonial"? What happens when
Ranciere's discussions of art are juxtaposed with cultural
anthropology? What does a story by Lao She about collecting reveal
about political collectivism in modern China? How does Girard's
notion of mimetic violence speak to identity politics? How might
Arendt's and Derrida's reflections on forgiveness be supplemented
by a film by Lee Chang-dong? What can Akira Kurosawa's films about
Japan say about American Studies? How is Asia framed
transnationally, with what consequences for those who self-identify
as Asian?
These questions are dispersively heterologous yet mutually
implicated. This paradoxical character of their discursive
relations is what Rey Chow intends with the word "entanglements,"
by which she means, first, an enmeshment of topics: the mediatized
image in modernist reflexivity; captivation and identification;
victimhood; the place of East Asia in globalized Western academic
study. Beyond enmeshment, she asks, can entanglements be phenomena
that are not defined by affinity or proximity? Might entanglements
be about partition and disparity rather than about conjunction and
similarity?
Across medial forms (including theater, film, narrative,
digitization, and photographic art), and against more popular
trends of declaring things and people to be in flux, Chow proposes
conceptual frames that foreground instead aesthetic, ontological,
and sentient experiences of force, dominance, submission, fidelity,
antagonism, masochism, letting-go, and the attraction to
self-annihilation. Boundary, trap, capture, captivation, sacrifice,
and mimesis: these riveting terms serve as analytic pressure points
in her readings, articulating perversity, madness, and terror to
pursuits of freedom.
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